Academic literature on the topic 'Women authors, Italian – 21st century – Interviews'

Summary The authors of presented article deal with the issue of breast-feeding in labor relations. The current Slovak legislation allows only women to take a breastfeeding break. The authors wonder whether the regulation in question is still efficient in the 21st century and does not cause problems rather than benefits in practice. In foreign legislation, it is standard that a man, the child’s father, can under certain conditions take a breastfeeding break. The article analyzes Slovak legal norms and compares them with Spanish, Italian and Portuguese legal regulations as well as the chosen decision of the Court of Justice of the European Union regarding breast-feeding break. Methods of analysis, comparison and synthesis were used, which enabled the authors to form comprehensive conclusions as well as suggestions de lege ferenda. The authors’ opinion is, that the legal regulation of breastfeeding break in Slovakia needs to be amended in order to provide a father with the breastfeeding break under certain circumstances.

This volume of Frontiers: The Interdisciplinary Journal of Study Abroad offers a wide variety of approaches and topics in international education research. First, readers will note the geographic diversity that the articles represent; they examine study abroad topics in Africa, Argentina, Costa Rica, France, Nepal, Thailand, and Vietnam. Second, the articles cover a wide-range of issues, including language acquisition, risk management, recruitment of minority students for study abroad, evaluation of cultural integration, and financial inequities in study abroad. Third, this volume contains articles by a variety of authors, including U.S.-based study abroad administrators, faculty members, and on-site resident directors. Finally, the modes of inquiry are as varied as the topics and authors. Research approaches in this volume include survey instruments, interviews, participant observation, case studies, literature review, as well as analytical essays. This diversity of geography, issues, authors, and modes of inquiry has from the beginning characterized the content of Frontiers and been one of its chief strengths. When the first volume of Frontiers appeared in 1995, one was hard pressed to find many research-based and analytical studies in the field, let alone the diversity of such work that this volume represents. In this regard, Frontiers has matured along with the field of international education, and today, almost ten years later, this volume reflects the growing importance being placed on research on the critical aspects of our work. The opening article by Lilli Engle and John Engle, “Study Abroad Levels: Toward a Classification of Program Types,” offers a revolutionary perspective by which international educators may categorize and judge study abroad programs. Their proposed typology makes qualitative distinctions between study abroad program models based on their view of a spectrum of cultural immersion. Frontiers readers will find their analysis provocative, stimulating study abroad professionals to examine programming in useful ways. In “Women and Cultural Learning in Costa Rica: Reading the Contexts,” Adele Anderson reviews research on Costa Rica’s cultural context, student adjustment and tourism theory, relating them to American student experiences, and she includes data from ethnographic observations and interviews collected during three years as a resident director of short-term programs. Anderson introduces a tool that may be used by resident directors to guide student cultural adjustment more systematically. Mark Ritchie, an on-site resident director in Thailand, provides a very useful analysis of study abroad risk management in his article, “Risk Management in Study Abroad: Lessons from the Wilderness.” Ritchie draws upon the principles of wilderness education, especially as it is conducted in developing countries, in offering recommendations for study abroad risk management. Readers will appreciate his suggestions for reducing risk by applying the experiential techniques of wilderness education. J. Scott Van Der Meid’s study, “Asian Americans: Factors Influencing the Decision to Study Abroad,” examines the factors that influence Asian American students’ decision to study abroad, and provides useful suggestions for considering ways to increase study abroad participation among this population. As the field of study abroad continues to seek ways to increase minority participation in study abroad, Van Der Meid’s study offers a model for examining this question among all ethnic groups. In their analysis of an innovative Vietnam study abroad program, “History Lived and Learned: Students and Vietnam Veterans in an Integrative Study Abroad Course,” Raymond Scurfield, Leslie Root, and Andrew Wiest et al, analyze the collaborative learning experience of students and Vietnam veterans in a program that combined the teaching of Vietnam culture and military history with an exploration of the mental health aspects of combat and post-war recovery of the veterans. This article discusses the lessons learned from the experience of designing and implementing a study abroad program that integrates history education with therapeutic objectives. Jennifer Coffman and Kevin Brennan analyze the economic imbalance of African educational exchange with the United States in their article, “African Studies Abroad: Meaning and Impact of America’s Burgeoning Export Industry.” Coffman and Brennan recommend developing more equitable models of reciprocity by examining the economics of U.S. – African exchanges, and by reconsidering the ways in which African study abroad programs are conceived and implemented in light of their social and intellectual impact. “Development of Oral Communication Skills Abroad” by Christina Isabelli-Garcia examines the impact of a semester study abroad program in Argentina on the second language acquisition of three American university Spanish learners. Isabelli-Garcia’s study measures the development of two aspects of communications skills: first, fluency and performance in the oral functions of narration, and, second, description and supporting an opinion. Her study provides insight into the conditions of a study abroad program that best promote the acquisition of improved oral communication skills in a target language. In “Studying Abroad in Nepal: Assessing Impact,” Patricia Farrell and Murari Suvedi present the perceived impact of studying in Nepal on students’ academic program, personal development, and intellectual development. Using a survey instrument as well as interviews and case studies, the authors link the reported outcomes to the objectives of the study abroad program. We are pleased to include in this volume of Frontiers an essay by Patti McGill Peterson, “New Directions for the Global Century.” McGill Peterson’s analysis of the changing and challenging context for global education inspires us to meet the demands of the 21st century with determination, creativity, and enhanced global collaboration. This volume of Frontiers concludes with reviews of books of interest to international educators, each relating to diverse intellectual foundations of the field: Jean-Philippe Mathy’s Extrême-Occident: French Intellectuals and America, Louis Menand’s The Metaphysical Club: A Story of Ideas in America, and First Great Triumph: How Five Americans Made Their Country a World Power by Warren Zimmermann. We encourage our readers to continue to suggest books of interest, and to submit reviews for consideration. The update on the Forum on Education Abroad that appears at the back of this volume reflects the continuing fruitful collaboration between Frontiers and the Forum. Together with the Forum, Frontiers will continue to encourage and support research studies on study abroad topics, and to disseminate this research as widely as possible. The next volume of Frontiers, due to be published in November, 2004, will be our tenth anniversary volume. It is appropriate that this anniversary volume will be a Special Issue that focuses on the assessment of the learning outcomes of study abroad, a topic that reflects the maturation of a field that is now beginning to document the results of its activity. Other Special Issues that are in the planning stages include: curriculum integration and study abroad, the arts and study abroad, and student development and study abroad. Finally, I want to thank the new sponsors of Frontiers who, together with our existing sponsors, make the publication of this journal possible. The sponsors of Frontiers are institutions with a strong commitment to international education, and we are proud to be supported by them. The editorial board takes seriously its responsibility to provide the very best writing about and research on study abroad to our readers, and the support of our sponsors makes this mission possible. Brian J. Whalen Editor

NOTICIAS / NEWS (“Transfer”, 2015) 1) CONGRESOS / CONFERENCES: 1. First Forlì International Workshop – Corpus-based Interpreting Studies: The State of the Art University of Bologna at Forlì, 7-8 May 2015. http://eventi.sslmit.unibo.it/cis1/<file:///owa/redir.aspx 2. 5th IATIS Conference – Innovation Paths in Translation and Intercultural Studies, Belo Horizonte, Brazil, 7-10 July 2015. www.iatis.org/index.php/iatis-belo-horizonte-conference/itemlist/category/168-call-for-communication-proposals-within-the-general-conference 3. POETRY/TRANSLATION/FILM – POÉSIE/TRADUCTION/FILM PoeTransFi, Paul Valéry University, Montpellier, France, 18-19 June 2015. http://pays-anglophones.upv.univ-montp3.fr/?page_id=1795 4. 6th International Maastricht-Lodz Duo Colloquium on “Translation and Meaning”, Maastricht School of Translation & Interpre-ting, Zuyd University of Applied Sciences, Maastricht, Netherlands 21-22 May 2015. www.translation-and-meaning.nl 5. MiddleWOmen. Networking and cultural mediation with and between women (1850-1950). Centre for Reception Studies (CERES), HERA Travelling TexTs project and Huygens ING KU Leuven campus Brussels 7-8 May 2015. www.receptionstudies.be 6. 5th International Symposium: Respeaking, Live Subtitling and Accessibility, Università degli Studi Internazionali di Roma, Italy, 12 June 2015. www.unint.eu/it/component/content/article/8-pagina/494-respeaking-live-subtitling-and-accessibility.html 7. Conference on Law, Translation and Culture (LTC5) and Legal and Institutional Translation Seminar, University of Geneva, Switzerland 24-26 June 2015. www.unige.ch/traduction-interpretation/recherches/groupes/transius/conference2015_en.html 8. 6th International Conference Media for All – Audiovisual Translation and Media Accessibility: Global Challenges, University of Western Sydney, Australia, 16-18 September 2015. http://uws.edu.au/mediaforall 9. Translation in Exile, Vrije Universiteit Brussel, 10-11 December 2015. www.cliv.be 10. Literary Translation as Creation, Université d’Avignon et des Pays de Vaucluse, 20-21 May 2015. laurence.belingard@univ-avignon.fr marie-francoise.sanconie@univ-avignon.fr 11. 4th International Conference on Language, Medias and Culture (ICLMC 2015) 9-10 April 2015. Kyoto, Japan, www.iclmc.org 12. 9th International Colloquium on Translation Studies in Portugal – Translation & Revolution, Universidade Católica Portuguesa, Lisbon, 22-23 October 2015. ix.translation.revolution@gmail.com 13. Translation as Collaboration: Translaboration?, University of Westminster, London, 18 June 2015 Contact: Alexa Alfer (A.Alfer01@westminster.ac.uk), Steven Cranfield (S.Cranfield@westminster.ac.uk), Paresh Kathrani (P.Kathrani@westminster.ac.uk) 14. Translation/Interpreting Teaching and the Bologna Process: Pathways between Unity and Diversity, FTSK Germersheim, Germany 27–29 November 2015. www.fb06.uni-mainz.de/did2015/index_ENG.php 15. Atlantic Communities: Translation, Mobility, Hospitality, University of Vigo, Spain, 17-18 September 2015. http://translating.hypotheses.org/551 16. Exploring the Literary World III: Transgression and Translation in Literature Chulalongkorn University, Bangkok, Thailand 23-24 April 2015. www.arts.chula.ac.th/~complit/complite/?q=conference 17. Authenticity and Imitation in Translation and Culture, University of Social Sciences and Humanities, Warsaw, Poland, 7 – 9 May 2015. www.swps.pl/english-version/news/conferences/12164-authenticity-and-imitation-in-translation-and-culture 18. Translation in Transition, Barnard College, New York City, USA 1-2 May 2015. barnard.edu/translation/translation-in-transition 19. First Forlì International Workshop – Corpus-based Interpreting Studies: The state of the art, University of Bologna at Forlì, Italy, 7-8 May 2015. http://eventi.sslmit.unibo.it/cis1 20. Translation and Meaning. The Lodz Session of the 6th International Maastricht-Lodz Duo Colloquium, University of Lodz, Poland, 18-19 September 2015. http://duo.uni.lodz.pl 21. TAO-CAT-2015, Université Catholique de l’Ouest, Angers, France 28-30 May 2015. www.tao2015.org/home-new 22. English Language and Literary Studies (ELLS 2015), Chulalongkorn University, Bangkok, Thailand, 3-4 August 2015. http://ells2015.com 23. Talking to the World 2: The Relevance of Translation and Interpreting – Past, Present and Future, Newcastle University, UK, 10-11 September 2015. www.ncl.ac.uk/sml/study/postgraduate/T&I/2015conference/main.htm 24. 6th International Symposium for Young Researchers in Translation, Interpreting, Intercultural Studies and East Asian Studies Universitat Autònoma de Barcelona, Spain, 3 July 2015. www.fti.uab.es/departament/simposi-2015/en/index.htm 25. Portsmouth Translation Conference: Border Crossing or Border Creation?, University of Portsmouth, UK, 14 November 2015. www.port.ac.uk/translation/events/conference 26. New Perspectives in Assessment in Translation Training: Bridging the Gap between Academic and Professional Assessment, University of Westminster, London, UK, 4 September 2015. www.westminster.ac.uk/news-and-events/events/humanities/archive/2014/mlc/new-perspectives-in-assessment-in-translation-training-bridging-the-gap-between-academic-and-professional-assessment 27. III Congreso Internacional de Neología en las Lenguas Románicas University of Salamanca, 22-24 October 2015. http://diarium.usal.es/cineo2015 28. Some Holmes and Popovič in all of us? The Low Countries and the Nitra Schools in the 21st century, Constantine the Philosopher University, Nitra, Slovakia, 8-10 October 2015. Contact: igor.tyss@gmail.com 29. The Cultural Politics of Translation, Cairo, Egypt, 27-29 October 2015. https://culturalpoliticstranslation2015.wordpress.com 30. Journée d’étude « le(s) figure(s) du traducteur », Mount Royal University, Calgary, Canada, 30 April 2015. http://mrujs.mtroyal.ca/index.php/cf/index 31. Mediterranean Editors and Translators Annual Meeting —Versatility and readiness for new challenges, University of Coimbra, Portugal, 29-31 October 2015. www.metmeetings.org/en/preliminary-program:722 32. Lengua, Literatura y Traducción “liLETRAd”, University of Seville, Spain, 7-8 July 2015. http://congreso.us.es/liletrad. 33. Meta: Translators' Journal is celebrating its 60th anniversary in 2015! For the occasion, an anniversary colloquium will be held on August 19th to 21st, 2015 at the Université de Montréal (Montréal, Canada). Colloquium for the 60th Anniversary of META – 1955-2015: Les horizons de la traduction: retour vers le futur. Translation’s horizons: back to the future. Los horizontes de la traducción: regreso al futuro, August 19-21, 2015 – Université de Montréal. Please send your proposal to this address: meta60e@gmail.com, to the attention of Georges L. Bastin or Eve-Marie Gendron-Pontbrian 2) CURSOS DE POSGRADO / MASTERS: 1. Legal Translation, Master universitario di II livello in Traduzione Giuridica University of Trieste, Italy. http://apps.units.it/Sitedirectory/InformazioniSpecificheCdS/Default.aspx?cdsid=10374&ordinamento=2012&sede=1&int=web&lingua=15 2. Traducción Especializada, Universitat Oberta de Catalunya (UOC), Spain. http://estudios.uoc.edu/es/masters-posgrados-especializaciones/master/artes-humanidades/traduccion-especializada/presentacion 3. Online course: La Traducción Audiovisual y el Aprendizaje de Lenguas Extranjeras, Universidad Nacional de Educación a Distancia, Madrid, 1st December 2014 to 31st May 2015. http://formacionpermanente.uned.es/tp_actividad/idactividad/7385 https://canal.uned.es/mmobj/index/id/21174 Contact: Noa Talaván (ntalavan@flog.uned.es), José Javier Ávila (javila@flog.uned.es) 4. Online course: Audio Description and Its Use in the Foreign Language Classroom, UNED, Madrid, Spain http://formacionpermanente.uned.es/tp_actividad/idactividad/7492 5. Online course: Curso de Formación de Profesorado, La Traducción Audiovisual y el Aprendizaje de Lenguas Extranjeras UNED, Madrid, Spain. http://formacionpermanente.uned.es/tp_actividad/idactividad/7385 6. EST Training Seminar for Translation Teachers, Kraków, Poland 29 June – 3 July 2015. www.est-translationstudies.org/events/2015_seminar_teachers/index.html 7. Train the Trainer -Teaching MT: EAMT-funded Workshop, Dublin City University, 30 April- 1 May 2015. https://cttsdcu.wordpress.com/eamt-workshop-on-teaching-mt-to-translator-trainers-30-april-1-may 3) CURSOS DE VERANO / SUMMER COURSES: 1. 2015 Nida School of Translation Studies, Leading Edges in Translation: World Literature and Performativity, San Pellegrino University Foundation campus, Misano Adriatico, Italy, 18-29 may 2015. http://nsts.fusp.it/Nida-Schools/NSTS-2015 2. EMUNI Translation Studies Doctoral and Teacher Training Summer School, University of Turku, Finland, 1-12 June 2015. www.utu.fi/en/units/hum/units/languages/EASS/Pages/home.aspx 3. Chinese-English Translation and Interpretation, School of Translation and Interpretation, University of Ottawa, Canada, 13th July – 7th August 7 2015. http://arts.uottawa.ca/translation/summer-programs 4. Summer Program in Translation Pedagogy, University of Ottawa 13 July – 7 August 2015. http://arts.uottawa.ca/translation/summer-programs 4) LIBROS / BOOKS: 1. Audio Description: New Perspectives Illustrated, Edited by Anna Maszerowska, Anna Matamala and Pilar Orero, John Benjamins, 2014. https://benjamins.com/#catalog/books/btl.112/main 2. Call for papers: Translation Studies in Africa and beyond: Reconsidering the Postcolony, Editors: J Marais & AE Feinauer Contacts: Kobus Marais (jmarais@ufs.ac.za) or Ilse Feinauer (aef@sun.ac.za). 4. Measuring live subtitling quality: Results from the second sampling exercise, Ofcom, UK. http://stakeholders.ofcom.org.uk/consultations/subtitling/sampling-results-2 5. A Training Handbook for Legal and Court Interpreters in Australia by Mary Vasilakakos, ISBN 978-0-9925873-0-7, Publisher: Language Experts Pty Ltd. www.interpreterrevalidationtraining.com www.languageexperts.com.au 6. Call for papers: Opera and Translation: Eastern and Western Perspectives, Edited by Adriana Serban and Kelly Kar Yue Chan http://pays-anglophones.upv.univ-montp3.fr/?page_id=1908 7. The Known Unknowns of Translation Studies, Edited by Elke Brems, Reine Meylaerts and Luc van Doorslaer, Amsterdam/Philadelphia: John Benjamins, 2014. https://benjamins.com/#catalog/books/bct.69/main 8. Translating the Voices of Theory/ La traduction des voi de la théorie Edited by Isabelle Génin and Ida Klitgård, 2014. www.hf.uio.no/ilos/english/research/groups/Voice-in-Translation/ 9. Authorial and Editorial Voices in Translation 1 - Collaborative Relationships between Authors, Translators, and Performers, Eds. Hanne Jansen and Anna Wegener, 2014. http://editionsquebecoisesdeloeuvre.ca/data/documents/AEVA-Flyer-1-190895-Vita-Traductiva-Vol-2-Flyer-EN-100413.pdf 10. Authorial and Editorial Voices in Translation 2 - Editorial and Publishing Practices, Eds. Hanne Jansen and Anna Wegener, 2014. www.editionsquebecoisesdeloeuvre.ca/accueil 11. Call for papers: Achieving Consilience. Translation Theories and Practice. https://cfpachievingconsilience.wordpress.com 12. Framing the Interpreter. Towards a visual perspective. Anxo Fernández-Ocampo & Michaela Wolf (eds.), 2014, London: Routledge. http://routledge-ny.com/books/details/9780415712743 13. Multilingual Information Management: Information, Technology and Translators, Ximo Granell, 2014. http://store.elsevier.com/Multilingual-Information-Management/Ximo-Granell-/isbn-9781843347712/ 14. Writing and Translating Francophone Discourse: Africa, The Caribbean, Diaspora, Paul F. Bandia (ed.), 2014, Amsterdam, Rodopi www.brill.com/products/book/writing-and-translating-francophone-discourse 15. Call for papers (collective volumen): Translation studies in Africa and beyond: Reconsidering the postcolony www.facebook.com/notes/mona-baker/translation-studies-in-africa-and-beyond-reconsidering-the-postcolony/743564399051495 16. Audiovisual Translation in the Digital Age - The Italian Fansubbing Phenomenon, By Serenella Massidda, Palgrave Connect, 2015. www.palgrave.com/page/detail/audiovisual-translation-in-the-digital-age-serenella-massidda/?k=9781137470362 17. Video: First International SOS-VICS Conference - Building communication bridges in gender violence, University of Vigo, Spain 25-26 September 2014. http://cuautla.uvigo.es/CONSOS/ 18. Camps, Assumpta. Traducción y recepción de la literatura italiana, Publicacions i Edicions UB, 2014. ISBN: 978-84-475-3776-1. 19. Camps, Assumpta. Italia en la prensa periódica durante el franquismo, Publicacions i Edicions UB, 2014. ISBN: 978-84-475-3753-2. 5) REVISTAS / JOURNALS: Call for papers: “Altre Modernità – Rivista di studi letterarie e culturali” Special Issue: Ideological Manipulation in Audiovisual Translation, Contact: irene.ranzato@uniroma.it. http://riviste.unimi.it/index.php/AMonline/announcement/view/381 2. Call for papers: “Between, Journal of the Italian Association of Comparative Literature”. Special issue on censorship and self-censorship. http://ojs.unica.it/index.php/between/pages/view/CFP9_censura_auto-censura 3. Open access journal, “Hieronymus, A Journal of Translation Studies and Terminology”, Croatia. www.ffzg.unizg.hr/hieronymus 4. “DIE SCHNAKE. Zeitschrift für Sprachkritik, Satire, Literatur”, Number 39+40, Kleines ABC des Literaturübersetzens. www.rainer-kohlmayer.de 5. Call for papers: “MonTI” 8 (2016) - Economic, Financial and Business Translation: from Theory to Training and Professional Practice. http://dti.ua.es/es/monti-english/monti-authors.html daniel.gallego@ua.es 6. Call for papers: “LINGUISTICA ANTVERPIENSIA”, NEW SERIES -Themes in Translation Studies (15/2016). Interpreting in Conflict Situations and in Conflict Zones throughout History. https://lans.ua.ac.be/index.php/LANS-TTS/announcement 7. Call for papers: “CULTUS: The Journal of Intercultural Mediation and Communication” (8/2016). The Intercultural Question and the Interpreting Professions. www.cultusjournal.com 8. Call for papers: “The Journal of Specialised Translation” Non-thematic issue, Issue 26, July 2016. www.jostrans.org 9. “TranscUlturAl: A journal of Translation and Culture Studies”, Special issue Translating Street Art. http://ejournals.library.ualberta.ca/index.php/TC/issue/view/1634 10. “Przekładaniec 28: Audiodeskrypcja [Audio Description]”, edited by Anna Jankowska and Agnieszka Szarkowska. All papers are published in Polish, with English abstracts. www.ejournals.eu/Przekladaniec/zakladka/66/ 11. Call for papers: “Lingvisticæ Investigationes”, Special issue on Spanish Phraseology: Varieties and Variations. http://dti.ua.es/es/documentos/li-call-for-papers-spanish-phraseology-varieties-and-variations.pdf Further details: Pedro.mogorron@ua.es; xblancoe@gmail.com 13. Call for papers: “Revista de Lenguas para Fines Específicos”, Special issue on The Translation of Advertising. Contact: Laura Cruz (lcruz@dis.ulpgc.es). Deadline: 20th July 2015. www.webs.ulpgc.es/lfe 14. “The AALITRA Review”. www.nla.gov.au/openpublish/index.php/ALLITRA 15. “Current Trends in Translation Teaching and Learning E” www.cttl.org/cttl-e-2014.html 16. Call for papers: “Current Trends in Translation Teaching and Learning E”. www.cttl.org 18. Call for papers: “Translation and Translanguaging in Multilingual Contexts”, Volume 1, Number 2, 2015 Deadline: 10-Jan-2015. https://benjamins.com/#catalog/journals/ttmc/main 19. Call for book reviews: “TRANS. Revista de Traductología,” vol.19, 2015. Deadline: Friday, 30th January 2015. www.trans.uma.es trans@uma.es 20. Call for papers: “a journal of literature, culture and literary Translation”. Special volume – Utopia and Political Theology Today Deadline: 15th January 2015. Contact: sic.journal.contact@gmail.com https://owl.english.purdue.edu/owl/resource/747/01 21. “trans-kom”. www.trans-kom.eu 22. “Linguistica Antverpiensia” NS-TTS 13/2014: Multilingualism at the cinema and on stage: A translation perspective, Edited by Reine Meylaerts and Adriana Şerban. https://lans-tts.uantwerpen.be/index.php/LANS-TTS/issue/current 23. Call for papers: 5th issue (2015) of “Estudios de Traducción”, Deadline: 20 February 2015. www.ucm.es/iulmyt/revista 24. Call for papers: “Journal of Translation Studies” - special issue on Translator & Interpreter Education in East Asia. KATS (Korean Association of Translation Studies), www.kats.or.kr (Go to 'English' page). Contact: Won Jun Nam (wonjun_nam@daum.net, wjnam@hufs.ac.kr). 25. “The Journal of Specialised Translation”, 23, January 2015. www.jostrans.org 26. Call for papers: “TranscUlturAl: A Journal of Translation and Cultural Studies”. Deadline: 15 March 2015. http://ejournals.library.ualberta.ca/index.php/TC/announcement 27. “New Voices in Translation Studies”, Issue 11 (Fall 2014). www.iatis.org/index.php/publications/new-voices-in-translation-studies/item/1034-issue11-2014 28. “The Interpreter and Translator Trainer”, 8:3 (2014). Special issue: Dialogue Interpreting in practice: bridging the gap between empirical research and interpreter education E. Davitti and S. Pasquandrea (eds.) www.tandfonline.com/toc/ritt20/current#.VLQHuyvF-So 6) WEBS DE INTERÉS / WEBSITES OF INTEREST: 1. Support Spanish interpreters to secure the right to translation and interpreting in criminal proceedings: www.change.org/p/pablo-casado-retiren-el-proyecto-de-ley-org%C3%A1nica-que-modifica-la-lecrim

This article explores how representations of migration in 21st-century Italian fiction, including texts aimed at children and adolescents, can foster intercultural communication and contribute to the creation of a more tolerant society. Children represent a large proportion of the number of migrants arriving in Italy every year. However, since immigration is a relatively recent phenomenon, and Italians are still struggling to accept their homeland’s transition from emigrant to immigrant nation, Italian fiction offers a useful platform for exploring and challenging stereotypes about childhood, migration, identity and multiculturalism. This article presents a close reading of four semifictional works selected for their child-centric perspective, and their authors’ desire to use storytelling as a contact zone, that is a tool for sharing memories and creating a community spirit capable of promoting a sense of belonging, even in the absence of a single physical place to call home. The texts in question are Sumaya’s Abdel Qader’s Porto il velo, adoro i Queen. Nuove italiane crescono [I wear a headscarf, I love Queen. New Italian women are growing up]; Giuseppe Caliceti’s Italiani, per esempio. L’Italia vista dai bambini immigrati [Italians, for instance. Italy seen through the eyes of immigrant children]; Fabrizio Gatti’s Viki che voleva andare a scula [Viki who wanted to go to School], and Carmine Abate’ La festa del ritorno [The homecoming party]. All four authors have either direct or indirect experience of migration and particularly of the impact that migration has on children. They also share a sense of commitment and engagement and particularly in Caliceti’s and Abate’s case, an interest in language as a form of resistance. Their works are clear examples of the power of literature in challenging some of the more problematic sociological and media discourses about childhood and migration that tend to represent children as vulnerable victims or potential criminals.

BackgroundIn the centuries since Odysseus entrusted his son Telemachus to Athena, biographical, literary, and historical accounts have cemented the concept of mentorship into our collective consciousness. Early foundational research characterised mentors as individuals who help us transition through different phases of our lives. Chief among these phases is the progression from adolescence to adulthood, during which we “imagine exciting possibilities for [our lives] and [struggle] to attain the ‘I am’ feeling in this dreamed-of self and world” (Levinson 93). Previous research suggests that mentoring can positively impact a range of developmental outcomes including emotional/behavioural resiliency, academic attainment, career advancement, and organisational productivity (DuBois et al. 57-91; Eby et al. 441-76; Merriam 161-73). The growth of formal mentoring programs, such as Big Brothers-Big Sisters, has further strengthened our belief in the value of mentoring in personal, academic and career contexts (Eby et al. 441-76).In recent years, claims of mentorship uptake have become widespread, even ubiquitous, ranging from codified components of organisational mandates to casual bragging rights in coffee shop conversations (Eby et al. 441-76). Is this a sign that mentorship has become indispensable to personal and professional development, or is mentorship simply in vogue? In this paper, we examine uses of, and corresponding meanings attached to, mentorship. Specifically, we compare popular news portrayals of mentoring with meanings ascribed to mentoring relationships by academics who are part of formal mentoring programs.MethodsWe searched for articles published in the New York Times between July and December 2015. Search terms used included: mentor, mentors, mentoring or mentorship. This U.S. national newspaper was chosen for its broad focus, and large online readership. It is among the most widely read online newspapers worldwide (World Association of Newspapers and News Publishers). Our search generated 536 articles. We conducted a qualitative thematic contentan alysis to explore the nature, scope, and importance of mentorship, as depicted in these media accounts. We compared media themes identified through this analysis with those generated through in-depth interviews previously conducted with 23 academic faculty in mentoring programs at the University of Calgary (Canada). Data were extracted by two authors, and discrepancies in interpretation were resolved through discussion with a third author.The Many Faces of MentorshipIn both interviews and New York Times (NYT) accounts, mentorship is portrayed as part of the “fabric” of contemporary culture, and is often viewed as essential to career advancement. As one academic we interviewed commented: “You know the worst feeling in the world [as a new employee] is...to feel like you’re floundering and you don’t know where to turn.” In 322 NYT articles, mentorship was linked to professional successes across a variety of disciplines, with CEOs, and popular culture icons, such as rap artists and sports figures, citing mentorship as central to their achievements. Mentorship had a particularly strong presence in the arts (109 articles), sports (62 articles) business (57 articles), politics (36 articles), medicine (26 articles), and law (21 articles).In the NYT, mentorship was also a factor in student achievement and social justice issues including psychosocial and career support for refugees and youth from low socioeconomic backgrounds; counteracting youth radicalisation; and addressing gender inequality in the workplace. In short, mentorship appears to have been taken up as a panacea for a variety of social and economic ills.Mentor Identities and RolesWhile mentors in academia were supervisors or colleagues, NYT articles portrayed mentors more broadly, as family members, employers, friends and peers. Mentoring relationships typically begin with a connection which often manifests as shared experiences or goals (Merriam). One academic interviewee described mentorship in these terms: “There’s something there that you both really respect and value.” In many NYT accounts, the connection between mentors and mentees was similarly emphasized. As a professional athlete noted: “To me, it's not about collecting [mentors]...It's if the person means something to me...played some type of role in my life” (Shpigel SP.1).While most mentoring relationships develop organically, others are created through formal programs. In the NYT, 33 articles described formal programs to support career/skills development in the arts, business, and sports, and behaviour change in at-risk youth. Although many such programs relied on volunteers, we noted instances in professional sports and business where individuals were hired to provide mentorship. We also saw evidence to suggest that formal programs may be viewed as a quick fix, or palatable alternative, to more costly, or long-term organisational or societal change. For instance, one article on operational challenges at a law firm noted: “The firm's leadership...didn't want to be told that they needed to overhaul their entire organizational philosophy.... They wanted to be told that the firm's problem was work-family conflict for women, a narrative that would allow them to adopt a set of policies specifically aimed at helping women work part time, or be mentored” (Slaughter SR.1).Mutuality of the RelationshipEffective mentoring occurs when both mentors and mentees value these relationships. As one academic interviewee noted: “[My mentor] asked me for advice on certain things about where they’re going right career wise... I think that’s allowed us to have a stronger sort of mentoring relationship”. Some NYT portrayals of mentorship also suggested rich, reciprocal relationships. A dancer with a ballet company described her mentor:She doesn't talk at you. She talks with you. I've never thought about dancing as much as I've thought about it working with her. I feel like as a ballerina, you smile and nod and you take the beating. This is more collaborative. In school, I was always waiting to find a professor that I would bond with and who would mentor me. All I had to do was walk over to Barnard, get into the studio, and there she was. I found Twyla. Or she found me. (Kourlas AR.7)The mutuality of the mentorship evident in this dancer’s recollection is echoed in a NYT account of the role of fashion models in mentoring colleagues: “They were...mentors and connectors and facilitators, motivated...by the joy of discovering talent and creating beauty” (Trebay D.8). Yet in other media accounts, mentorship appeared unidirectional, almost one-dimensional: “Judge Forrest noted in court that he had been seen as a mentor for young people” (Moynihan A.21). Here, the focus seemed to be on the benefits, or status, accrued by the mentor. Importance of the RelationshipAcademic interviewees viewed mentors as sources of knowledge, guidance, feedback, and sponsorship. They believed mentorship had profoundly impacted their careers and that “finding a mentor can be one of the most important things” anyone could do. In the NYT portrayals, mentors were also recognized for the significant, often lasting, impact they had on the lives of their mentees. A choreographer said “the lessons she learned from her former mentor still inspire her — ‘he sits on my shoulder’” (Gold CT 11). A successful CEO of a software firm recollected how mentors enabled him to develop professional confidence: “They would have me facilitate meetings with clients early on in my career. It helped build up this reservoir of confidence” (Bryant, Candid Questions BU.2).Other accounts in academic interviews and NYT highlighted how defining moments in even short-term mentoring relationships can provoke fundamental and lasting changes in attitudes and behaviours. One interviewee who recently experienced a career change said she derived comfort from connecting with a mentor who had experienced a similar transition: “oh there’s somebody [who] talks my language...there is a place for me.” As a CEO in the NYT recalled: “An early mentor of mine said something to me when I was going to a new job: ‘Don't worry. It's just another dog and pony show.’ That really stayed with me” (Bryant, Devil’s Advocate BU.2). A writer quoted in a NYT article also recounted how a chance encounter with a mentor changed the course of his career: “She said... that my problem was not having career direction. ‘You should become a teacher,’ she said. It was an unusual thing to hear, since that subject had never come up in our conversations. But I was truly desperate, ready to hear something different...In an indirect way, my life had changed because of that drink (DeMarco ST.6).Mentorship was also celebrated in the NYT in the form of 116 obituary notices as a means of honouring and immortalising a life well lived. The mentoring role individuals had played in life was highlighted alongside those of child, parent, grandparent and spouse.Metaphor and ArchetypeMetaphors imbue language with imagery that evokes emotions, sensations, and memories in ways that other forms of speech or writing cannot, thus enabling us communicate complex ideas or beliefs. Academic interviewees invoked various metaphors to illustrate mentorship experiences. One interviewee spoke of the “blossoming” relationship while another commented on the power of the mentoring experience to “lift your world”. In the NYT we identified only one instance of the use of metaphor. A CEO of a non-profit organisation explained her mentoring philosophy as follows: “One of my mentors early on talked about the need for a leader to be a ‘certain trumpet’. It comes from Corinthians, and it's a very good visualization -- if the trumpet isn't clear, who's going to follow you?” (Bryant, Zigzag BU.2).By comparison, we noted numerous instances in the NYT wherein mentors were present as characters, or archetypes, in film, performing arts, and television. Archetypes exhibit attributes, or convey meanings, that are instinctively understood by those who share common cultural, societal, or racial experiences (Lane 232) For example, a NYT film review of The Assassin states that “the title character [is] trained in her deadly vocation by a fierce, soft-spoken mentor” (Scott C.4). Such characterisations rely on audiences’ understanding of the inherentfunction of the mentor role, and, like metaphors, can help to convey that which is compelling or complex.Intentionality and TrustIn interviews, academics spoke of the time and trust required to develop mentoring relationships. One noted “It may take a bit of an effort... You don’t get to know a person very well just meeting three times during the year”. Another spoke of trust and comfort as defining these relationships: “You just open up. You feel immediately comfortable”. We also found evidence of trust and intentionality in NYT accounts of these relationships. Mentees were often portrayed as seeking out and relying on mentorship. A junior teacher stated that “she would lean on mentors at her new school. You are not on that island all alone” (Rich A1). In contrast, there were few explicit accounts of intentionality and reflection on the part of a mentor. In one instance, a police officer who participated in a mentorship program for street kids mused “it's not about the talent. It was just about the interaction”. In another, an actor described her mentoring experiences as follows: “You have to know when to give advice and when to just be quiet and listen...no matter how much you tell someone how it goes, no one really wants to listen. Their dreams are much bigger than whatever fear or whatever obstacle you say may be in their path” (Syme C.5).Many NYT articles present career mentoring as a role that can be assumed by anyone with requisite knowledge or experience. Indeed, some accounts of mentorship arguably more closely resembled role model relationships, wherein individuals are admired, typically from afar, and emulated by those who aspire to similar accomplishments. Here, there was little, if any, apparent awareness of the complexity or potential impact of these relationships. Rather, we observed a casualness, an almost striking superficiality, in some NYT accounts of mentoring relationships. Examples ranged from references to “sartorial mentors” (Pappu D1) to a professional coach who shared: “After being told by a mentor that her scowl was ‘setting her back’ at work, [she] began taking pictures of her face so she could try to look more cheerful” (Bennett ST.1).Trust, an essential component of mentorship, can wither when mentors occupy dual roles, such as that of mentor and supervisor, or engage in mentoring as a means of furthering their own interests. While some academic interviewees were mentored by past and current supervisors, none reported any instance of role conflict. However in the NYT, we identified multiple instances where mentorship programs intentionally, or unintentionally, inspired divided loyalties. At one academic institution, peer mentors were “encouraged to befriend and offer mentorship to the students on their floors, yet were designated ‘mandatory reporters’ of any incident that may violate the school policy” (Rosman ST.1). In another media story, government employees in a phased-retirement program received monetary incentives to mentor colleagues: “Federal workers who take phased retirement work 20 hours a week and agree to mentor other workers. During that time, they receive half their pay and half their retirement annuity payout. When workers retire completely, their annuities will include an increase to account for the part-time service” (Hannon B.1). More extreme depictions of conflict of interest were evident in other NYT reports of mentors and mentees competing for job promotions, and mentees accusing mentors of sexual harassment and rape; such examples underscore potential for abuse of trust in these relationships.Discussion/ConclusionsOur exploration of mentorship in the NYT suggests mentorship is embedded in our culture, and is a means by which we develop competencies required to integrate into, and function within, society. Whereas, traditionally, mentorship was an informal relationship that developed over time, we now see a wider array of mentorship models, including formal career and youth programs aimed at increasing access to mentorship, and mentor-for-hire arrangements in business and professional sports. Such formal programs can offer redress to those who lack informal mentorship opportunities, and increased initiatives of this sort are welcome.Although standards of reporting in news media surely account for some of the lack of detail in many NYT reports of mentorship, such brevity may also suggest that, while mentoring continues to grow in popularity, we may have compromised substance for availability. Considerations of the training, time, attention, and trust required of these relationships may have been short-changed, and the tendency we observed in the NYT to conflate role modeling and mentorship may contribute to depictions of mentorship as a quick fix, or ‘mentorship light’. Although mentorship continues to be lauded as a means of promoting personal and professional development, not all mentoring may be of similar quality, and not everyone has comparable access to these relationships. While we continue to honour the promise of mentorship, as with all things worth having, effective mentorship requires effort. This effort comes in the form of preparation, commitment or intentionality, and the development of bonds of trust within these relationships. In short, overuse of, over-reference to, and misapplication of the mentorship label may serve to dilute the significance and meaning of these relationships. Further, we acknowledge a darker side to mentorship, with the potential for abuses of power.Although we have reservations regarding some trends towards the casual usage of the mentorship term, we are also heartened by the apparent scope and reach of these relationships. Numerous individuals continue to draw comfort from advice, sponsorship, motivation, support and validation that mentors provide. Indeed, for many, mentorship may represent an essential lifeline to navigating life’s many challenges. We, thus, conclude that mentorship, in its many forms, is here to stay.ReferencesBennett, Jessica. "Cursed with a Death Stare." New York Times (East Coast) 2 Aug. 2015, late ed.: ST.1.Bryant, Adam. "Designate a Devil's Advocate." New York Times (East Coast) 9 Aug. 2015, late ed.: BU.2.Bryant, Adam. "The Power of Candid Questions." New York Times (East Coast) 16 Aug. 2015, late ed.: BU. 2.Bryant, Adam. "Zigzag Your Way to the Top." New York Times (East Coast) 13 Sept. 2015, late ed.: BU.2.DeMarco, Peter. "One Life, Shaken and Stirred." New York Times (East Coast) 23 Aug. 2015, late ed.: ST.6.DuBois, David L., Nelson Portillo, Jean E. Rhodes, Nadia Silverhorn and Jeffery C. Valentine. "How Effective Are Mentoring Programs for Youth? A Systematic Assessment of the Evidence." Psychological Science in the Public Interest 12.2 (2011): 57-91.Eby, Lillian T., Tammy D. Allen, Brian J. Hoffman, Lisa E. Baranik, …, and Sarah C. Evans. "An Interdisciplinary Meta-analysis of the Potential Antecedents, Correlates, and Consequences of Protégé Perceptions of Mentoring." Psychological Bulletin 139.2 (2013): 441-76.Gold, Sarah. "Preserving a Master's Vision of Sugar Plums." New York Times (East Coast) 6 Dec. 2015, late ed.: CT 11.Hannon, Kerry. "Retiring, But Not All at Once." New York Times (East Coast) 22 Aug. 2015, late ed.: B.1.Kourlas, Gia. "Marathon of a Milestone Tour." New York Times Late Edition (East Coast) 6 Sept. 2015: AR.7.Lane, Lauriat. "The Literary Archetype: Some Reconsiderations." The Journal of Aesthetics and Art Criticism 13.2 (1954): 226-32.Levinson, Daniel. J. The Seasons of a Man's Life. New York: Ballantine, 1978.Merriam, Sharan. "Mentors and Protégés: A Critical Review of the Literature." Adult Education Quarterly 33.3 (1983): 161-73.Moynihan, Colin. "Man's Cooperation in Terrorist Cases Spares Him from Serving More Time in Prison." New York Times (East Coast) 24 Oct. 2015, late ed.: A.21.Pappu, Sridhar. "Tailored to the Spotlight." New York Times (East Coast) 27 Aug. 2015, late ed.: D1.Rich, Motoko. "Across Country, a Scramble Is On to Find Teachers." New York Times (East Coast) 10 Aug. 2015, late ed.: A1.Rosman, Katherine. "On the Campus Front Line." New York Times (East Coast) 27 Sept. 2015, late ed.: ST.1.Scott, AO. "The Delights to Be Found in a Deadly Vocation." New York Times (East Coast) 16 Oct. 2015, late ed.: C.4.Shpigel, Ben. "An Exchange of Respect in the Swapping of Jerseys." New York Times (East Coast) 18 Oct. 2015, late ed.: SP.1.Slaughter, Ann-Marie. "A Toxic Work World." New York Times (East Coast) 20 Sept. 2015, late ed.: SR.1.Syme, Rachel. "In TV, Finding a Creative Space with No Limitations." New York Times (East Coast) 26 Aug. 2015, late ed.: C.5.Trebay, Guy. "Remembering a Time When Fashion Shows Were Fun." New York Times (East Coast) 10 Sept. 2015, late ed.: D.8.World Association of Newspapers and News Publishers. World Press Trends Report. Paris: WAN-IFRA, 2015.

Recently, there has been renewed interest in homemaking and domestic practices and the revival of domesticity has become related with pro-environmental values and sustainable lifestyles in Western societies. The turn to domesticity tends to be associated with women. While some authors warn of a return to traditional gender roles within the household, others view eco-domesticity as a feminist project that values domestic practices. This article considers the gender-specific aspects of the revival in a post-socialist country and focuses on the gendered aspects of new domesticity. Specifically, it studies the gendered discourses and practices within eco-domesticity in Czechia, which include sustainable consumption, green prosumption and alternative parenting practices. Can the eco-conscious reclaiming of domesticity be viewed as a new form of feminism in Czechia? The study is based on a qualitative sociological research using in-depth interviews, participant observation and media analyses. It is argued here that this new 21st-century domesticity should be understood through the context of the Czech state’s lengthy maternity/parental leave period, which leads to temporary domesticity. The examples of active fathers and self-reliant mothers undermine the traditional division of labour. Caring roles among men in the family are highly valued in eco-domesticity, and alternative gender roles are part of alternative sustainable lifestyles. Care in the home expands to collective activities of parents in community centres and other community projects and decreases the isolation of parents at home. Although inspired by trends from abroad, informants do not perceive eco-domesticity to be a new wave of feminism in Czechia.

Contemporary culinary discourse in Australia has been dominated by the notion that migration and the increased mobility of Australians is responsible for filling a culinary void, as though, because we have had no peasantry we have no affinity with either the land or its produce. This argument serves to alienate Australians of British descent and its validity is open to questioning. It's an argument in urgent need of debate because cuisine stands out as the signifier of a 'multicultural' nation. Despite all the political posturing, food has 'long been the acceptable face of multiculturalism' (Gunew 13). We argue that the rhetoric of multiculturalism serves to widen the chasm between Australians of British descent and other migrants by encouraging the 'us' and 'them' mentality. We have examined the common links in the food stories of three women from disparate backgrounds. The sample is small in quantitative terms but we felt that if the culinary histories of just three women ran counter to the dominant discourse, then they would provide a new point of departure. In doing this we hope to question the precept driving culinary discourse which gives more weight to what men have said and done, than what women have cooked and how; and propagates mythologies about the eating habits of 'ethnic' migrants. Multiculturalism The terminology surrounding policies that seek to manage difference and diversity is culturally loaded and tends to perpetuate binaries. "Multiculturalism, circulates in Australia as a series of discursive formations serving a variety of institutional interests" (Gunew 256). In Australia multicultural policy seeks to "manage our cultural diversity so that the social cohesion of our nation is preserved" (Advisory Council on Multicultural Affairs 4). The result is to allow diversity that is sanctioned and is to some extent homogenised, while difference is not understood and is contained (see Newman). Multicultural? Who does it include and exclude? Gunew points out that official formulations of multiculturalism exclude people of 'Anglo-Celtic' origin, as though they had no 'ethnicity'. Multiculturalism, while addressing some of the social problems of immigration, is propelled at government level by our need for national cultural policy (see Stratton and Ang). To have a national cultural policy you need, it would seem, a film industry, a music industry, and a cuisine. In his history of Australian cuisine, Symons has only briefly alluded to women's role in the development of Australia's 'industrial cuisine'. One Continuous Picnic presents an essentially masculinist history, a pessimistic derogatory view giving little value to domestic traditions passed from mother to daughter. Women are mentioned only as authors of cookbooks produced throughout the 19th century and as the housewives whose role in the 1950s changed due to the introduction of labour-saving devices. Scant reference is made to the pre-eminent icon of Australian rural culinary history, the Country Women's Association1 and their recipe books. These books have gone through numerous editions from the 1920s, but Symons refers to them dismissively as a 'plain text' arising from the 'store-shelf of processed ingredients' (Symons 201). What of the 'vegie' patch, the afternoon tea? These traditions are mentioned, but only in passing. The products of arduous and loving baking are belittled as 'pretty things'. Is this because they are too difficult to document or because they are women's business? Female writers Barbara Santich and Marion Halligan have both written on the importance of these traditions in the lives of Australian women. Symons's discourse concentrates on 'industrial cuisine', but who is to say that its imperatives were not transgressed. The available data derives from recipe books, sales figures and advertising, but we don't actually know how much food came from other sources. Did your grandmother keep chickens? Did your grandfather fish? Terra Australis Culinae Nullius2 Michael Symons's precept is: This is the only continent which has not supported an agrarian society ... . Our land missed that fertile period when agriculture and cooking were created. There has never been the creative interplay between society and the soil. Almost no food has ever been grown by the person who eats it, almost no food has been preserved in the home and indeed, very little preparation is now done by a family cook. This is the uncultivated continent. Our history is without peasants. (10, our emphasis) This notion of terra Australis culinae nullius is problematic on two levels. The use of the word indigenous implies both Aboriginal and British settler culinary tradition. This statement consequently denies both traditional Aboriginal knowledge and the British traditions. The importance of Aboriginal foodways, their modern exploitation and their impact on the future of Australian cuisine needs recognition, but the complexity of the issue places it beyond the bounds of this paper. Symons's view of peasantry is a romanticised one, and says less about food and more about nostalgia for a more permanent, less changing environment. Advertising of 'ethnic' food routinely exploits this nostalgia by appropriating the image of the cheerful peasant. These advertisements perpetuate the mythologies that link pastoral images with 'family values'. These myths, or what Barthes describes as 'cultural truths', hold that migrant families all have harmonious relationships, are benevolently patriarchal and they all sit down to eat together. 'Ethnic' families are at one with the land and use recipes made from fresher, more natural produce, that are handed down through the female line and have had the benefit of generations of culinary wisdom. (See Gallegos & Mansfield.) So are the culinary traditions of Australians of British descent so different from those of migrant families? Joan, born near her home in Cunderdin in the Western Australian wheatbelt, grew up on a farm in reasonably prosperous circumstances with her six siblings. After marrying, she remained in the Cunderdin area to continue farming. Giovanna was born in 1915 on a farm four kilometres outside Vasto, in the Italian region of Abruzzi. One of seven children, her father died when she was young and at the age of twenty, she came to Australia to marry a Vastese man 12 years her senior. Maria was born in Madeira in 1946, in a coastal village near the capital Funchal. Like Giovanna she is the fifth of seven children and arrived in Australia at the age of twenty to marry. We used the information elicited from these three women to scrutinise some of the mythology surrounding ethnic families. Myth 1: 'Ethnic' families all eat together. All three women said their families had eaten together in the past and it was Joan who commented that what was missing in Australia today was people sitting down together to share a meal. Joan's farming community all came in for an extended midday meal from necessity, as the horses needed to be rested. Both women described radio, television, increasing work hours and different shifts as responsible for the demise of the family meal. Commensality is one of the common boundary markers for all groups 'indicating a kind of equality, peership, and the promise of further kinship links stemming from the intimate acts of dining together' (Nash 11). It is not only migrant families who eat together, and the demise of the family meal is more widely felt. Myth 2: Recipes in 'ethnic' families are passed down from generation to generation. Handing recipes down from generation to generation is not limited to just 'ethnic' families. All three women describe learning to cook from their mothers. Giovanna and Maria had hands-on experiences at very young ages, cooking for the family out of necessity. Joan did not have to cook for her family but her mother still taught her basic cookery as well as the finer points. The fluidity of the mother-daughter identity is expressed and documented by the handing on of recipes. Joan's community thought the recipes important enough to document in a written form, and so the West Australian version of the CWA cookbook became a reality. Joan, when asked about why the CWA developed a cookbook, replied that they wanted to record the recipes that were all well tried by women who spent the bulk of their days in the kitchen, cooking. Being taught to cook, teaching your children to cook and passing on recipes crosses borders, and does not serve to create or maintain boundaries. Myth 3: 'Ethnic' food is never prepared from processed products but always from homegrown produce. During their childhoods the range of food items purchased by the families was remarkably similar for all three women. All described buying tinned fish, rice and sugar, while the range of items produced from what was grown reflected common practices for the use and preservation of fresh produce. The major difference was the items that were in abundance, so while Joan describes pickling meat in addition to preserving fruits, Maria talks about preserving fish and Giovanna vegetables. The traditions developed around what was available. Joan and her family grew the food that they ate, preserved the food in their own home, and the family cook did all the preparation. To suggest they did not have a creative interplay with the soil is suggesting that they were unskilled in making a harsh landscape profitable. Joan's family could afford to buy more food items than the other families. Given the choice both Giovanna's and Maria's families would have only been too eager to make their lives easier. For example, on special occasions when the choice was available Giovanna's family chose store-bought pasta. The perception of the freshness and tastiness of peasant cuisine and affinity with the land obscures the issue, which for much of the world is still quantity, not quality. It would seem that these women's stories have points of reference. All three women describe the sense of community food engendered. They all remember sharing and swapping recipes. This sense of community was expressed by the sharing of food -- regardless of how little there was or what it was. The legacy lives on, while no longer feeling obliged to provide an elaborate afternoon tea as she did in her married life, visitors to Joan's home arrive to the smell of freshly baked biscuits shared over a cup of tea or coffee. Giovanna is only too eager to share her Vastese cakes with a cup of espresso coffee, and as new acquaintances we are obliged to taste each of the five different varieties of cakes and take some home. Maria, on the other hand, offered instant coffee and store-bought biscuits; having worked outside the home all her life and being thirty years younger than the other women, is this perhaps the face of modernity? The widespread anticipation of the divisions between these women has more to do with power relationships and the politics of east, west, north, south than with the realities of everyday life. The development of a style of eating will depend on your knowledge both as an individual and as a collective, the ingredients that are available at any one time, the conditions under which food has to be grown, and your own history. For the newly-arrived Southern Europeans meat was consumed in higher quantities because its availability was restricted in their countries of origin, to eat meat regularly was to increase your status in society. Interest in 'ethnic' food and its hybridisation is a global phenomenon and the creolisation of eating has been described both in America (see Garbaccia) and in Britain (James 81). The current obsession with the 'ethnic' has more to do with nostalgia than tolerance. The interviews which were conducted highlight the similarities between three women from different backgrounds despite differences in age and socioeconomic status. Our cuisine is in the process of hybridisation, but let us not forget who is manipulating this process and the agendas under which it is encouraged. To lay claim that one tradition is wonderful, while the other either does not exist or has nothing to offer, perpetuates divisive binaries. By focussing on what these women have in common rather than their differences we begin to critically interrogate the "culinary binary". It is our intention to stimulate debate that we hope will eventually lead to the encouragement of difference rather than the futile pursuit of authenticity. Footnotes 1. The Country Women's Association is an organisation that began in Australia in the 1920s. It is still operational and has as one of its primary aims the improvement of the welfare and conditions of women and children, especially those living in the country. 2. The term terra australis nullius is used to describe Australia at the point of colonisation. The continent was regarded as "empty" because the native people had neither improved nor settled on the land. We have extended this concept to incorporate cuisine. This notion of emptiness has influenced readings of Australian history which overlook the indigenous population and their relationship with the land. References Advisory Council on Multicultural Affairs. Towards A National Agenda for a Multicultural Australia. Canberra, 1988. Barthes, Roland. Mythologies. Trans. A. Lavers. London: Vintage, 1993. Belasco, Warren. "Ethnic Fast Foods: The Corporate Melting Pot". Food and Foodways 2.1 (1987): 1-30. Gallegos, Danielle, and Alan Mansfield. "Eclectic Gastronomes or Conservative Eaters: What Does Advertising Say?" Nutrition Unplugged, Proceedings of the 16th Dietitians Association of Australia National Conference. Hobart: Dietitians Association of Australia, 1997. Gallegos, Danielle, and Alan Mansfield. "Screen Cuisine: The Pastes, Powders and Potions of the Mediterranean Diet". Celebrate Food, Proceedings of the 17th Dietitians Association of Australia National Conference. Sydney: Dietitians Association of Australia, 1998. Garbaccia, D.R. We Are What We Eat: Ethnic Food and the Making of Americans. Boston: Harvard UP, 1998. Gunew, Sneja. "Denaturalising Cultural Nationalisms; Multicultural Readings of 'Australia'." Nation and Narration. Ed. Homi Bhabha. London: Routledge, 1990. 245-66. Gunew, Sneja. Introduction. Feminism and the Politics of Difference. Eds. S. Gunew and A. Yeatman. Sydney: Allen and Unwin, 1993. xiii-xxv. Halligan, Marion. Eat My Words. Melbourne: Angus & Robertson, 1990. Harvey, D. The Condition of Postmodernity. Oxford: Basil Blackwell, 1989. James, Alison. "How British Is British Food". Food, Health and Identity. Ed. P. Caplan. London: Routledge, 1997. 71-86. Mennell, Stephen. All Manners of Food: Eating and Taste in England and France from the Middle Ages to the Present. Oxford: Basil Blackwell, 1996. Nash, Manning. The Cauldron of Ethnicity in the Modern World. Chicago: U of Chicago P, 1989. Newman, Felicity. Didn't Your Mother Teach You Not to Talk with Your Mouth Full? Food, Families and Friction. Unpublished Masters Thesis, Murdoch University, Perth, Western Australia, 1997. Santich, Barbara. Looking for Flavour. Adelaide: Wakefield, 1996. Stratton, Jon, and Ien Ang. "Multicultural Imagined Communities: Cultural Difference and National Identity in Australia and the USA". Continuum 8.2 (1994): 124-58. Symons, Michael. One Continuous Picnic. Adelaide: Duck, 1992. Citation reference for this article MLA style: Danielle Gallegos, Felicity Newman. "What about the Women? Food, Migration and Mythology." M/C: A Journal of Media and Culture 2.7 (1999). [your date of access] <http://www.uq.edu.au/mc/9910/women.php>. Chicago style: Danielle Gallegos, Felicity Newman, "What about the Women? Food, Migration and Mythology," M/C: A Journal of Media and Culture 2, no. 7 (1999), <http://www.uq.edu.au/mc/9910/women.php> ([your date of access]). APA style: Danielle Gallegos, Felicity Newman. (1999) What about the women? Food, migration and mythology. M/C: A Journal of Media and Culture 2(7). <http://www.uq.edu.au/mc/9910/women.php> ([your date of access]).

IntroductionThree broad stages of Australia’s arts and culture sectors may be discerned with reference to the Northern Hemisphere. The first is in Australia’s early years where artists travelled to the metropoles of Europe to learn from acknowledged masters, to view the great works and to become part of a broader cultural scene. The second is where Australian art was promoted internationally, which to some extent began in the 1960s with exhibitions such as the 1961 ‘Survey of recent Australian painting’ at the Whitechapel gallery. The third relates to the strong promotion and push to display and sell Indigenous art, which has been a key area of focus since the 1970s.The Allure of the NorthFor a long time Australasian artists have mostly travelled to Britain (Britain) or Europe (Cooper; Frost; Inkson and Carr), be they writers, painters or musicians for example. Hecq (36) provides a useful overview of the various periods of expatriation from Australia, referring to the first significant phase at the end of the twentieth century when many painters left “to complete their atelier instruction in Paris and London”. Many writers also left for the north during this time, with a number of women travelling overseas on account of “intellectual pressures as well as intellectual isolation”(Hecq 36). Among these, Miles Franklin left Australia in “an open act of rebellion against the repressive environment of her family and colonial culture” (37). There also existed “a belief that ‘there’ is better than ‘here’” (de Groen vii) as well as a “search for the ideal” (viii). World War I led to stronger Anglo-Australian relations hence an increase in expatriation to Europe and Britain as well as longer-term sojourns. These increased further in the wake of World War II. Hecq describes how for many artists, there was significant discontent with Australian provincialism and narrow-mindedness, as well as a desire for wider audiences and international recognition. Further, Hecq describes how Europe became something of a “dreamland”, with numerous artists influenced by their childhood readings about this part of the world and a sense of the imaginary or the “other”. This sense of a dream is described beautifully by McAuliffe (56), who refers to the 1898 painting by A.J. Daplyn as a “melancholic diagram of the nineteenth-century Australian artist’s world, tempering the shimmering allure of those northern lights with the shadowy, somnolent isolation of the south”.Figure 1: The Australian Artist’s Dream of Europe; A.J. Daplyn, 1898 (oil on canvas; courtesy artnet.com)In ‘Some Other Dream’, de Groen presents a series of interviews with expatriate Australian artists and writers as an insight into what drove each to look north and to leave Australia, either temporarily or permanently. Here are a few examples:Janet Alderson: “I desperately wanted to see what was going on” (2)Robert Jacks: “the dream of something else. New York is a dream for lots of people” (21)Bruce Latimer: “I’d always been interested in America, New York in particular” (34)Jeffrey Smart: “Australia seemed to be very dull and isolated, and Italy seemed to be thrilling and modern” (50)Clement Meadmore: “I never had much to do with what was happening in Melbourne: I was never accepted there” (66)Stelarc: “I was interested in traditional Japanese art and the philosophy of Zen” (80)Robert Hughes: “I’d written everything that I’d wanted to write about Australian art and this really dread prospect was looming up of staying in Australia for the rest of one’s life” (128)Max Hutchison: “I quickly realised that Melbourne was a non-art consuming city” (158)John Stringer: “I was not getting the latitude that I wanted at the National Gallery [in Australia] … the prospects of doing other good shows seemed rather slim” (178)As the testimony here suggests, the allure of the north ranges from dissatisfaction with the south to the attraction of various parts of the world in the north.More recently, McAuliffe describes a shift in the impact of the overseas experience for many artists. Describing them as business travellers, he refers to the fact that artists today travel to meet international art dealers and to participate in exhibitions, art fairs and the like. Further, he argues that the risk today lies in “disorientation and distraction rather than provincial timidity” (McAuliffe 56). That is, given the ease and relatively cheap costs of international travel, McAuliffe argues that the challenge is in adapting to constantly changing circumstances, rather than what are now arguably dated concepts of cultural cringe or tyranny of distance. Further, given the combination of “cultural nationalism, social cosmopolitanism and information technology”, McAuliffe (58) argues that the need to expatriate is no longer a requirement for success.Australian Art Struggles InternationallyThe struggles for Australian art as a sector to succeed internationally, particularly in Britain, Europe and the US, are well documented (Frost; Robertson). This is largely due to Australia’s limited history of white settlement and established canon of great art works, the fact that power and position remain strong hence the dominance of Europe and North America in the creative arts field (Bourdieu), as well as Australia’s geographical isolation from the major art centres of the world, with Heartney (63) describing the “persistent sense of isolation of the Australian art world”. While Australia has had considerable success internationally in terms of its popular music (e.g. INXS, Kylie Minogue, The Seekers) and high-profile Hollywood actors (e.g. Geoffrey Rush, Hugh Jackman, Nicole Kidman), the visual arts in particular have struggled (O’Sullivan), including the Indigenous visual arts subsector (Stone). One of the constant criticisms in the visual art world is that Australian art is too focussed on place (e.g. the Australian outback) and not global art movements and trends (Robertson). While on the one hand he argues that Australian visual artists have made some inroads and successes in the international market, McAuliffe (63) tempers this with the following observation:Australian artists don’t operate at the white-hot heart of the international art market: there are no astronomical prices and hotly contested bidding wars. International museums acquire Australian art only rarely, and many an international survey exhibition goes by with no Australian representation.The Push to Sell Australian Cultural Product in the NorthWriting in the mid-nineties at the time of the release of the national cultural policy Creative Nation, the then prime minister Paul Keating identified a need for Australia as a nation to become more competitive internationally in terms of cultural exports. This is a theme that continues today. Recent decades have seen several attempts to promote Australian visual art overseas and in particular Indigenous art; this has come with mixed success. However, there have been misconceptions in the past and hence numerous challenges associated with promoting and selling Aboriginal art in international markets (Wright). One of the problems is that a lot of Europeans “have often seen bad examples of Aboriginal Art” (Anonymous 69) and it is typically the art work which travels north, less so the Indigenous artists who create them and who can talk to them and engage with audiences. At the same time, the Indigenous art sector remains a major contributor to the Australian art economy (Australia Council). While there are some examples of successful Australian art managers operating galleries overseas in such places as London and in the US (Anonymous-b), these are limited and many have had to struggle to gain recognition for their artists’ works.Throsby refers to the well-established fact that the international art market predominantly resides in the US and in Europe (including Britain). Further, Throsby (64) argues that breaking into this market “is a daunting task requiring resources, perseverance, a quality product, and a good deal of luck”. Referring specifically to Indigenous Australian art, Throsby (65) reveals how leading European fairs such as those at Basel and Cologne, displaying breath-taking ignorance if not outright stupidity, have vetoed Aboriginal works on the grounds that they are folk art. This saga continues to the present day, and it still remains to be seen whether these fairs will eventually wake up to themselves.It is also presented in an issue of Artlink that the “challenge is to convince European buyers of the value of Australian art, even though the work is comparatively inexpensive” (Anonymous 69). Is the Rite of Passage Relevant in the 21st Century?Some authors challenge the notion that the rite of passage to the northern hemisphere is a requirement for success for an Australian artist (Frost). This challenge is worthy of unpacking in the second decade of the twenty-first century, and particularly so in what is being termed the Asian century (Bice and Sullivan; Wesley). Firstly, Australia is far closer to Asia than it is to Europe and North America. Secondly, the Asian population is expected to continue to experience rapid economic and population growth, for example the rise of the middle class in China, potentially representing new markets for the consumption of creative product. Lee and Lim refer to the rapid economic modernisation and growth in East Asia (Japan to Singapore). Hence, given the struggles that are often experienced by Australian artists and dealers in attempting to break into the art markets of Europe and North America, it may be more constructive to look towards Asia as an alternative north and place for Australian creative product. Fourthly, many Asian countries are investing heavily in their creative industries and creative economy (Kim and Kim; Kong), hence representing an opportune time for Australian creative practitioners to explore new connections and partnerships.In the first half of the twentieth century, Australians felt compelled to travel north to Europe, especially, if they wanted to engage with the great art teachers, galleries and art works. Today, with the impact of technology, engaging with the art world can be achieved much more readily and quickly, through “increasingly transnational forms of cultural production, distribution and consumption” (Rowe et al. 8). This recent wave of technological development has been significant (Guerra and Kagan), in relation to online communication (e.g. skype, email), social media (e.g. Facebook, Twitter) as well as content available on the Web for both informal and formal learning purposes. Artists anywhere in the world can now connect online while also engaging with what is an increasing field of virtual museums and galleries. For example, the Tate Gallery in London has over 70,000 artworks in its online art database which includes significant commentary on each work. While online engagement does not necessarily enable an individual to have the lived experience of a gallery walk-through or to be an audience member at a live performance in an outstanding international venue, online technologies have made it much easier for developing artists to engage from anywhere in the world. This certainly makes the ‘tyranny of distance’ factor relevant to Australia somewhat more manageable.There is also a developing field of research citing the importance of emerging artists displaying enterprising and/or entrepreneurial skills (Bridgstock), in the context of a rapidly changing global arts sector. This broadly refers to the need for artists to have business skills, to be able to seek out and identify opportunities, as well as manage multiple projects and/or various streams of income in what is a very different career type and pathway (Beckman; Bridgstock and Cunningham; Hennekam and Bennett). These opportunity seeking skills and agentic qualities have also been cited as critical in relation to the fact that there is not only a major oversupply of artistic labour globally (Menger), but there is a growing stream of entrants to the global higher education tertiary arts sector that shows no signs of subsiding (Daniel). Concluding RemarksAustralia’s history features a strong relationship with and influences from the north, and in particular from Britain, Europe and North America. This remains the case today, with much of Australian society based on inherited models from Britain, be this in the art world or in such areas as the law and education. As well as a range of cultural and sentimental links with this north, Australia is sometimes considered to be a satellite of European civilisation in the Asia-Pacific region. It is therefore explicable why artists might continue this longstanding relationship with this particular north.In our interesting and complex present of the early twenty-first century, Australia is hampered by the lack of any national cultural policy as well as recent significant cuts to arts funding at the national and state levels (Caust). Nevertheless, there are opportunities to be further explored in relation to the changing patterns of production and consumption of creative content, the impact of new and next technologies, as well as the rise of Asia in the Asian Century. The broad field of the arts and artists is a rich area for ongoing research and inquiry and ultimately, Australia’s links to the north including the concept of the rite of passage deserves ongoing consideration.ReferencesAnonymous a. 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"Not a Dirty Word: Arts Entrepreneurship and Higher Education." Arts and Humanities in Higher Education 12.2–3 (2013,): 122–137. doi:10.1177/1474022212465725.———, and Stuart Cunningham. "Creative Labour and Graduate Outcomes: Implications for Higher Education and Cultural Policy." International Journal of Cultural Policy 22.1 (2015): 10–26. doi:10.1080/10286632.2015.1101086.Britain, Ian. Once an Australian: Journeys with Barry Humphries, Clive James, Germaine Greer and Robert Hughes. Oxford: Oxford UP, 1997.Caust, Josephine. "Cultural Wars in an Australian Context: Challenges in Developing a National Cultural Policy." International Journal of Cultural Policy 21.2 (2015): 168–182. doi:10.1080/10286632.2014.890607.Cooper, Roslyn Pesman. "Some Australian Italies." Westerly 39.4 (1994): 95–104.Daniel, Ryan, and Robert Johnstone. "Becoming an Artist: Exploring the Motivations of Undergraduate Students at a Regional Australian University". Studies in Higher Education 42.6 (2017): 1015-1032.De Groen, Geoffrey. Some Other Dream: The Artist the Artworld & the Expatriate. Hale & Iremonger, 1984.Frost, Andrew. "Do Young Australian Artists Really Need to Go Overseas to Mature?" The Guardian, 9 Oct. 2013. <https://www.theguardian.com/culture/australia-culture-blog/2013/oct/09/1https://www.theguardian.com/culture/australia-culture-blog/2013/oct/09/1, July 20, 2016>.Guerra, Paula, and Sacha Kagan, eds. Arts and Creativity: Working on Identity and Difference. Porto: University of Porto, 2016.Heartney, Eleanor. "Identity and Locale: Four Australian Artists." Art in America 97.5 (2009): 63–68.Hecq, Dominique. "'Flying Up for Air: Australian Artists in Exile'." Commonwealth (Dijon) 22.2 (2000): 35–45.Hennekam, Sophie, and Dawn Bennett. "Involuntary Career Transition and Identity within the Artist Population." Personnel Review 45.6 (2016): 1114–1131.Inkson, Kerr, and Stuart C. Carr. "International Talent Flow and Careers: An Australasian Perspective." Australian Journal of Career Development 13.3 (2004): 23–28.Keating, P.J. "Exports from a Creative Nation." Media International Australia 76.1 (1995): 4–6.Kim, Jeong-Gon, and Eunji Kim. "Creative Industries Internationalization Strategies of Selected Countries and Their Policy Implications." KIEP Research Paper. World Economic Update-14–26 (2014). <https://ssrn.com/abstract=2488416>.Kong, Lily. "From Cultural Industries to Creative Industries and Back? Towards Clarifying Theory and Rethinking Policy." Inter-Asia Cultural Studies 15.4 (2014): 593–607.Lee, H., and Lorraine Lim. Cultural Policies in East Asia: Dynamics between the State, Arts and Creative Industries. Springer, 2014.McAuliffe, Chris. "Living the Dream: The Contemporary Australian Artist Abroad." Meanjin 71.3 (2012): 56–61.Menger, Pierre-Michel. "Artistic Labor Markets and Careers." Annual Review of Sociology 25.1 (1999): 541–574.O’Sullivan, Jane. "Why Australian Artists Find It So Hard to Get International Recognition." AFR Magazine, 2016.Robertson, Kate. "Yes, Capon, Australian Artists Have Always Thought about Place." The Conversation, 2014. <https://theconversation.com/yes-capon-australian-artists-have-always-thought-about-place-31690>.Rowe, David, et al. "Transforming Cultures? From Creative Nation to Creative Australia." Media International Australia 158.1 (2016): 6–16. doi:10.1177/1329878X16629544.Stone, Deborah. "Presenters Reject Indigenous Arts." ArtsHub, 2016. <http://www.artshub.com.au/news-article/news/audience-development/deborah-stone/presenters-reject-indigenous-arts-252075?utm_source=ArtsHub+Australia&utm_campaign=7349a419f3-UA-828966-1&utm_medium=email&utm_term=0_2a8ea75e81-7349a419f3-302288158>.Throsby, David. "Get Out There and Sell: The Visual Arts Export Strategy, Past, Present and Future." Artlink 18.4 (1998): 64–65.Wesley, Michael. 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Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussion of nature and culture together.) It’s no news to anyone that not only adaptations, but all art is bred of other art, though sometimes artists seem to get carried away. My favourite example of excess of association or attribution can be found in the acknowledgements page to a verse drama called Beatrice Chancy by the self-defined “maximalist” (not minimalist) poet, novelist, librettist, and critic, George Elliot Clarke. His selected list of the incarnations of the story of Beatrice Cenci, a sixteenth-century Italian noblewoman put to death for the murder of her father, includes dramas, romances, chronicles, screenplays, parodies, sculptures, photographs, and operas: dramas by Vincenzo Pieracci (1816), Percy Bysshe Shelley (1819), Juliusz Slowacki (1843), Waldter Landor (1851), Antonin Artaud (1935) and Alberto Moravia (1958); the romances by Francesco Guerrazi (1854), Henri Pierangeli (1933), Philip Lindsay (1940), Frederic Prokosch (1955) and Susanne Kircher (1976); the chronicles by Stendhal (1839), Mary Shelley (1839), Alexandre Dumas, père (1939-40), Robert Browning (1864), Charles Swinburne (1883), Corrado Ricci (1923), Sir Lionel Cust (1929), Kurt Pfister (1946) and Irene Mitchell (1991); the film/screenplay by Bertrand Tavernier and Colo O’Hagan (1988); the parody by Kathy Acker (1993); the sculpture by Harriet Hosmer (1857); the photograph by Julia Ward Cameron (1866); and the operas by Guido Pannain (1942), Berthold Goldschmidt (1951, 1995) and Havergal Brian (1962). (Beatrice Chancy, 152) He concludes the list with: “These creators have dallied with Beatrice Cenci, but I have committed indiscretions” (152). An “intertextual feast”, by Clarke’s own admission, this rewriting of Beatrice’s story—especially Percy Bysshe Shelley’s own verse play, The Cenci—illustrates brilliantly what Northrop Frye offered as the first principle of the production of literature: “literature can only derive its form from itself” (15). But in the last several decades, what has come to be called intertextuality theory has shifted thinking away from looking at this phenomenon from the point of view of authorial influences on the writing of literature (and works like Harold Bloom’s famous study of the Anxiety of Influence) and toward considering our readerly associations with literature, the connections we (not the author) make—as we read. We, the readers, have become “empowered”, as we say, and we’ve become the object of academic study in our own right. Among the many associations we inevitably make, as readers, is with adaptations of the literature we read, be it of Jane Austin novels or Beowulf. Some of us may have seen the 2006 rock opera of Beowulf done by the Irish Repertory Theatre; others await the new Neil Gaiman animated film. Some may have played the Beowulf videogame. I personally plan to miss the upcoming updated version that makes Beowulf into the son of an African explorer. But I did see Sturla Gunnarsson’s Beowulf and Grendel film, and yearned to see the comic opera at the Lincoln Centre Festival in 2006 called Grendel, the Transcendence of the Great Big Bad. I am not really interested in whether these adaptations—all in the last year or so—signify Hollywood’s need for a new “monster of the week” or are just the sign of a desire to cash in on the success of The Lord of the Rings. For all I know they might well act as an ethical reminder of the human in the alien in a time of global strife (see McGee, A4). What interests me is the impact these multiple adaptations can have on the reader of literature as well as on the production of literature. Literature, like painting, is usually thought of as what Nelson Goodman (114) calls a one-stage art form: what we read (like what we see on a canvas) is what is put there by the originating artist. Several major consequences follow from this view. First, the implication is that the work is thus an original and new creation by that artist. However, even the most original of novelists—like Salman Rushdie—are the first to tell you that stories get told and retold over and over. Indeed his controversial novel, The Satanic Verses, takes this as a major theme. Works like the Thousand and One Nights are crucial references in all of his work. As he writes in Haroun and the Sea of Stories: “no story comes from nowhere; new stories are born of old” (86). But illusion of originality is only one of the implications of seeing literature as a one-stage art form. Another is the assumption that what the writer put on paper is what we read. But entire doctoral programs in literary production and book history have been set up to study how this is not the case, in fact. Editors influence, even change, what authors want to write. Designers control how we literally see the work of literature. Beatrice Chancy’s bookend maps of historical Acadia literally frame how we read the historical story of the title’s mixed-race offspring of an African slave and a white slave owner in colonial Nova Scotia in 1801. Media interest or fashion or academic ideological focus may provoke a publisher to foreground in the physical presentation different elements of a text like this—its stress on race, or gender, or sexuality. The fact that its author won Canada’s Governor General’s Award for poetry might mean that the fact that this is a verse play is emphasised. If the book goes into a second edition, will a new preface get added, changing the framework for the reader once again? As Katherine Larson has convincingly shown, the paratextual elements that surround a work of literature like this one become a major site of meaning generation. What if literature were not a one-stage an art form at all? What if it were, rather, what Goodman calls “two-stage” (114)? What if we accept that other artists, other creators, are needed to bring it to life—editors, publishers, and indeed readers? In a very real and literal sense, from our (audience) point of view, there may be no such thing as a one-stage art work. Just as the experience of literature is made possible for readers by the writer, in conjunction with a team of professional and creative people, so, arguably all art needs its audience to be art; the un-interpreted, un-experienced art work is not worth calling art. Goodman resists this move to considering literature a two-stage art, not at all sure that readings are end products the way that performance works are (114). Plays, films, television shows, or operas would be his prime examples of two-stage arts. In each of these, a text (a playtext, a screenplay, a score, a libretto) is moved from page to stage or screen and given life, by an entire team of creative individuals: directors, actors, designers, musicians, and so on. Literary adaptations to the screen or stage are usually considered as yet another form of this kind of transcription or transposition of a written text to a performance medium. But the verbal move from the “book” to the diminutive “libretto” (in Italian, little book or booklet) is indicative of a view that sees adaptation as a step downward, a move away from a primary literary “source”. In fact, an entire negative rhetoric of “infidelity” has developed in both journalistic reviewing and academic discourse about adaptations, and it is a morally loaded rhetoric that I find surprising in its intensity. Here is the wonderfully critical description of that rhetoric by the king of film adaptation critics, Robert Stam: Terms like “infidelity,” “betrayal,” “deformation,” “violation,” “bastardisation,” “vulgarisation,” and “desecration” proliferate in adaptation discourse, each word carrying its specific charge of opprobrium. “Infidelity” carries overtones of Victorian prudishness; “betrayal” evokes ethical perfidy; “bastardisation” connotes illegitimacy; “deformation” implies aesthetic disgust and monstrosity; “violation” calls to mind sexual violence; “vulgarisation” conjures up class degradation; and “desecration” intimates religious sacrilege and blasphemy. (3) I join many others today, like Stam, in challenging the persistence of this fidelity discourse in adaptation studies, thereby providing yet another example of what, in his article here called “The Persistence of Fidelity: Adaptation Theory Today,” John Connor has called the “fidelity reflex”—the call to end an obsession with fidelity as the sole criterion for judging the success of an adaptation. But here I want to come at this same issue of the relation of adaptation to the adapted text from another angle. When considering an adaptation of a literary work, there are other reasons why the literary “source” text might be privileged. Literature has historical priority as an art form, Stam claims, and so in some people’s eyes will always be superior to other forms. But does it actually have priority? What about even earlier performative forms like ritual and song? Or to look forward, instead of back, as Tim Barker urges us to do in his article here, what about the new media’s additions to our repertoire with the advent of electronic technology? How can we retain this hierarchy of artistic forms—with literature inevitably on top—in a world like ours today? How can both the Romantic ideology of original genius and the capitalist notion of individual authorship hold up in the face of the complex reality of the production of literature today (as well as in the past)? (In “Amen to That: Sampling and Adapting the Past”, Steve Collins shows how digital technology has changed the possibilities of musical creativity in adapting/sampling.) Like many other ages before our own, adaptation is rampant today, as director Spike Jonze and screenwriter Charlie Kaufman clearly realised in creating Adaptation, their meta-cinematic illustration-as-send-up film about adaptation. But rarely has a culture denigrated the adapter as a secondary and derivative creator as much as we do the screenwriter today—as Jonze explores with great irony. Michelle McMerrin and Sergio Rizzo helpfully explain in their pieces here that one of the reasons for this is the strength of auteur theory in film criticism. But we live in a world in which works of literature have been turned into more than films. We now have literary adaptations in the forms of interactive new media works and videogames; we have theme parks; and of course, we have the more common television series, radio and stage plays, musicals, dance works, and operas. And, of course, we now have novelisations of films—and they are not given the respect that originary novels are given: it is the adaptation as adaptation that is denigrated, as Deborah Allison shows in “Film/Print: Novelisations and Capricorn One”. Adaptations across media are inevitably fraught, and for complex and multiple reasons. The financing and distribution issues of these widely different media alone inevitably challenge older capitalist models. The need or desire to appeal to a global market has consequences for adaptations of literature, especially with regard to its regional and historical specificities. These particularities are what usually get adapted or “indigenised” for new audiences—be they the particularities of the Spanish gypsy Carmen (see Ioana Furnica, “Subverting the ‘Good, Old Tune’”), those of the Japanese samurai genre (see Kevin P. Eubanks, “Becoming-Samurai: Samurai [Films], Kung-Fu [Flicks] and Hip-Hop [Soundtracks]”), of American hip hop graffiti (see Kara-Jane Lombard, “‘To Us Writers, the Differences Are Obvious’: The Adaptation of Hip Hop Graffiti to an Australian Context”) or of Jane Austen’s fiction (see Suchitra Mathur, “From British ‘Pride’ to Indian ‘Bride’: Mapping the Contours of a Globalised (Post?)Colonialism”). What happens to the literary text that is being adapted, often multiple times? Rather than being displaced by the adaptation (as is often feared), it most frequently gets a new life: new editions of the book appear, with stills from the movie adaptation on its cover. But if I buy and read the book after seeing the movie, I read it differently than I would have before I had seen the film: in effect, the book, not the adaptation, has become the second and even secondary text for me. And as I read, I can only “see” characters as imagined by the director of the film; the cinematic version has taken over, has even colonised, my reader’s imagination. The literary “source” text, in my readerly, experiential terms, becomes the secondary work. It exists on an experiential continuum, in other words, with its adaptations. It may have been created before, but I only came to know it after. What if I have read the literary work first, and then see the movie? In my imagination, I have already cast the characters: I know what Gabriel and Gretta Conroy of James Joyce’s story, “The Dead,” look and sound like—in my imagination, at least. Then along comes John Huston’s lush period piece cinematic adaptation and the director superimposes his vision upon mine; his forcibly replaces mine. But, in this particular case, Huston still arguably needs my imagination, or at least my memory—though he may not have realised it fully in making the film. When, in a central scene in the narrative, Gabriel watches his wife listening, moved, to the singing of the Irish song, “The Lass of Aughrim,” what we see on screen is a concerned, intrigued, but in the end rather blank face: Gabriel doesn’t alter his expression as he listens and watches. His expression may not change—but I know exactly what he is thinking. Huston does not tell us; indeed, without the use of voice-over, he cannot. And since the song itself is important, voice-over is impossible. But I know exactly what he is thinking: I’ve read the book. I fill in the blank, so to speak. Gabriel looks at Gretta and thinks: There was grace and mystery in her attitude as if she were a symbol of something. He asked himself what is a woman standing on the stairs in the shadow, listening to distant music, a symbol of. If he were a painter he would paint her in that attitude. … Distant Music he would call the picture if he were a painter. (210) A few pages later the narrator will tell us: At last she turned towards them and Gabriel saw that there was colour on her cheeks and that her eyes were shining. A sudden tide of joy went leaping out of his heart. (212) This joy, of course, puts him in a very different—disastrously different—state of mind than his wife, who (we later learn) is remembering a young man who sang that song to her when she was a girl—and who died, for love of her. I know this—because I’ve read the book. Watching the movie, I interpret Gabriel’s blank expression in this knowledge. Just as the director’s vision can colonise my visual and aural imagination, so too can I, as reader, supplement the film’s silence with the literary text’s inner knowledge. The question, of course, is: should I have to do so? Because I have read the book, I will. But what if I haven’t read the book? Will I substitute my own ideas, from what I’ve seen in the rest of the film, or from what I’ve experienced in my own life? Filmmakers always have to deal with this problem, of course, since the camera is resolutely externalising, and actors must reveal their inner worlds through bodily gesture or facial expression for the camera to record and for the spectator to witness and comprehend. But film is not only a visual medium: it uses music and sound, and it also uses words—spoken words within the dramatic situation, words overheard on the street, on television, but also voice-over words, spoken by a narrating figure. Stephen Dedalus escapes from Ireland at the end of Joseph Strick’s 1978 adaptation of Joyce’s A Portrait of the Artist as a Young Man with the same words as he does in the novel, where they appear as Stephen’s diary entry: Amen. So be it. Welcome, O life! I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race. … Old father, old artificer, stand me now and ever in good stead. (253) The words from the novel also belong to the film as film, with its very different story, less about an artist than about a young Irishman finally able to escape his family, his religion and his country. What’s deliberately NOT in the movie is the irony of Joyce’s final, benign-looking textual signal to his reader: Dublin, 1904 Trieste, 1914 The first date is the time of Stephen’s leaving Dublin—and the time of his return, as we know from the novel Ulysses, the sequel, if you like, to this novel. The escape was short-lived! Portrait of the Artist as a Young Man has an ironic structure that has primed its readers to expect not escape and triumph but something else. Each chapter of the novel has ended on this kind of personal triumphant high; the next has ironically opened with Stephen mired in the mundane and in failure. Stephen’s final words in both film and novel remind us that he really is an Icarus figure, following his “Old father, old artificer”, his namesake, Daedalus. And Icarus, we recall, takes a tumble. In the novel version, we are reminded that this is the portrait of the artist “as a young man”—later, in 1914, from the distance of Trieste (to which he has escaped) Joyce, writing this story, could take some ironic distance from his earlier persona. There is no such distance in the film version. However, it stands alone, on its own; Joyce’s irony is not appropriate in Strick’s vision. His is a different work, with its own message and its own, considerably more romantic and less ironic power. Literary adaptations are their own things—inspired by, based on an adapted text but something different, something other. I want to argue that these works adapted from literature are now part of our readerly experience of that literature, and for that reason deserve the same attention we give to the literary, and not only the same attention, but also the same respect. I am a literarily trained person. People like me who love words, already love plays, but shouldn’t we also love films—and operas, and musicals, and even videogames? There is no need to denigrate words that are heard (and visualised) in order to privilege words that are read. Works of literature can have afterlives in their adaptations and translations, just as they have pre-lives, in terms of influences and models, as George Eliot Clarke openly allows in those acknowledgements to Beatrice Chancy. I want to return to that Canadian work, because it raises for me many of the issues about adaptation and language that I see at the core of our literary distrust of the move away from the written, printed text. I ended my recent book on adaptation with a brief examination of this work, but I didn’t deal with this particular issue of language. So I want to return to it, as to unfinished business. Clarke is, by the way, clear in the verse drama as well as in articles and interviews that among the many intertexts to Beatrice Chancy, the most important are slave narratives, especially one called Celia, a Slave, and Shelley’s play, The Cenci. Both are stories of mistreated and subordinated women who fight back. Since Clarke himself has written at length about the slave narratives, I’m going to concentrate here on Shelley’s The Cenci. The distance from Shelley’s verse play to Clarke’s verse play is a temporal one, but it is also geographic and ideological one: from the old to the new world, and from a European to what Clarke calls an “Africadian” (African Canadian/African Acadian) perspective. Yet both poets were writing political protest plays against unjust authority and despotic power. And they have both become plays that are more read than performed—a sad fate, according to Clarke, for two works that are so concerned with voice. We know that Shelley sought to calibrate the stylistic registers of his work with various dramatic characters and effects to create a modern “mixed” style that was both a return to the ancients and offered a new drama of great range and flexibility where the expression fits what is being expressed (see Bruhn). His polemic against eighteenth-century European dramatic conventions has been seen as leading the way for realist drama later in the nineteenth century, with what has been called its “mixed style mimesis” (Bruhn) Clarke’s adaptation does not aim for Shelley’s perfect linguistic decorum. It mixes the elevated and the biblical with the idiomatic and the sensual—even the vulgar—the lushly poetic with the coarsely powerful. But perhaps Shelley’s idea of appropriate language fits, after all: Beatrice Chancy is a woman of mixed blood—the child of a slave woman and her slave owner; she has been educated by her white father in a convent school. Sometimes that educated, elevated discourse is heard; at other times, she uses the variety of discourses operative within slave society—from religious to colloquial. But all the time, words count—as in all printed and oral literature. Clarke’s verse drama was given a staged reading in Toronto in 1997, but the story’s, if not the book’s, real second life came when it was used as the basis for an opera libretto. Actually the libretto commission came first (from Queen of Puddings Theatre in Toronto), and Clarke started writing what was to be his first of many opera texts. Constantly frustrated by the art form’s demands for concision, he found himself writing two texts at once—a short libretto and a longer, five-act tragic verse play to be published separately. Since it takes considerably longer to sing than to speak (or read) a line of text, the composer James Rolfe keep asking for cuts—in the name of economy (too many singers), because of clarity of action for audience comprehension, or because of sheer length. Opera audiences have to sit in a theatre for a fixed length of time, unlike readers who can put a book down and return to it later. However, what was never sacrificed to length or to the demands of the music was the language. In fact, the double impact of the powerful mixed language and the equally potent music, increases the impact of the literary text when performed in its operatic adaptation. Here is the verse play version of the scene after Beatrice’s rape by her own father, Francis Chancey: I was black but comely. Don’t glance Upon me. This flesh is crumbling Like proved lies. I’m perfumed, ruddied Carrion. Assassinated. Screams of mucking juncos scrawled Over the chapel and my nerves, A stickiness, as when he finished Maculating my thighs and dress. My eyes seep pus; I can’t walk: the floors Are tizzy, dented by stout mauling. Suddenly I would like poison. The flesh limps from my spine. My inlets crimp. Vultures flutter, ghastly, without meaning. I can see lice swarming the air. … His scythe went shick shick shick and slashed My flowers; they lay, murdered, in heaps. (90) The biblical and the violent meet in the texture of the language. And none of that power gets lost in the opera adaptation, despite cuts and alterations for easier aural comprehension. I was black but comely. Don’t look Upon me: this flesh is dying. I’m perfumed, bleeding carrion, My eyes weep pus, my womb’s sopping With tears; I can hardly walk: the floors Are tizzy, the sick walls tumbling, Crumbling like proved lies. His scythe went shick shick shick and cut My flowers; they lay in heaps, murdered. (95) Clarke has said that he feels the libretto is less “literary” in his words than the verse play, for it removes the lines of French, Latin, Spanish and Italian that pepper the play as part of the author’s critique of the highly educated planter class in Nova Scotia: their education did not guarantee ethical behaviour (“Adaptation” 14). I have not concentrated on the music of the opera, because I wanted to keep the focus on the language. But I should say that the Rolfe’s score is as historically grounded as Clarke’s libretto: it is rooted in African Canadian music (from ring shouts to spirituals to blues) and in Scottish fiddle music and local reels of the time, not to mention bel canto Italian opera. However, the music consciously links black and white traditions in a way that Clarke’s words and story refuse: they remain stubbornly separate, set in deliberate tension with the music’s resolution. Beatrice will murder her father, and, at the very moment that Nova Scotia slaves are liberated, she and her co-conspirators will be hanged for that murder. Unlike the printed verse drama, the shorter opera libretto functions like a screenplay, if you will. It is not so much an autonomous work unto itself, but it points toward a potential enactment or embodiment in performance. Yet, even there, Clarke cannot resist the lure of words—even though they are words that no audience will ever hear. The stage directions for Act 3, scene 2 of the opera read: “The garden. Slaves, sunflowers, stars, sparks” (98). The printed verse play is full of these poetic associative stage directions, suggesting that despite his protestations to the contrary, Clarke may have thought of that version as one meant to be read by the eye. After Beatrice’s rape, the stage directions read: “A violin mopes. Invisible shovelsful of dirt thud upon the scene—as if those present were being buried alive—like ourselves” (91). Our imaginations—and emotions—go to work, assisted by the poet’s associations. There are many such textual helpers—epigraphs, photographs, notes—that we do not have when we watch and listen to the opera. We do have the music, the staged drama, the colours and sounds as well as the words of the text. As Clarke puts the difference: “as a chamber opera, Beatrice Chancy has ascended to television broadcast. But as a closet drama, it play only within the reader’s head” (“Adaptation” 14). Clarke’s work of literature, his verse drama, is a “situated utterance, produced in one medium and in one historical and social context,” to use Robert Stam’s terms. In the opera version, it was transformed into another “equally situated utterance, produced in a different context and relayed through a different medium” (45-6). I want to argue that both are worthy of study and respect by wordsmiths, by people like me. I realise I’ve loaded the dice: here neither the verse play nor the libretto is primary; neither is really the “source” text, for they were written at the same time and by the same person. But for readers and audiences (my focus and interest here), they exist on a continuum—depending on which we happen to experience first. As Ilana Shiloh explores here, the same is true about the short story and film of Memento. I am not alone in wanting to mount a defence of adaptations. Julie Sanders ends her new book called Adaptation and Appropriation with these words: “Adaptation and appropriation … are, endlessly and wonderfully, about seeing things come back to us in as many forms as possible” (160). The storytelling imagination is an adaptive mechanism—whether manifesting itself in print or on stage or on screen. The study of the production of literature should, I would like to argue, include those other forms taken by that storytelling drive. If I can be forgiven a move to the amusing—but still serious—in concluding, Terry Pratchett puts it beautifully in his fantasy story, Witches Abroad: “Stories, great flapping ribbons of shaped space-time, have been blowing and uncoiling around the universe since the beginning of time. And they have evolved. The weakest have died and the strongest have survived and they have grown fat on the retelling.” In biology as in culture, adaptations reign. References Bloom, Harold. The Anxiety of Influence. New York: Oxford University Press, 1975. Bruhn, Mark J. “’Prodigious Mixtures and Confusions Strange’: The Self-Subverting Mixed Style of The Cenci.” Poetics Today 22.4 (2001). Clarke, George Elliott. “Beatrice Chancy: A Libretto in Four Acts.” Canadian Theatre Review 96 (1998): 62-79. ———. Beatrice Chancy. Victoria, BC: Polestar, 1999. ———. “Adaptation: Love or Cannibalism? Some Personal Observations”, unpublished manuscript of article. Frye, Northrop. The Educated Imagination. Toronto: CBC, 1963. Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Bobbs-Merrill, 1968. Hutcheon, Linda, and Gary R. Bortolotti. “On the Origin of Adaptations: Rethinking Fidelity Discourse and “Success”—Biologically.” New Literary History. Forthcoming. Joyce, James. Dubliners. 1916. New York: Viking, 1967. ———. A Portrait of the Artist as a Young Man. 1916. Penguin: Harmondsworth, 1960. Larson, Katherine. “Resistance from the Margins in George Elliott Clarke’s Beatrice Chancy.” Canadian Literature 189 (2006): 103-118. McGee, Celia. “Beowulf on Demand.” New York Times, Arts and Leisure. 30 April 2006. A4. Rushdie, Salman. The Satanic Verses. New York: Viking, 1988. ———. Haroun and the Sea of Stories. London: Granta/Penguin, 1990. Sanders, Julie. Adaptation and Appropriation. London and New York: Routledge, 160. Shelley, Percy Bysshe. The Cenci. Ed. George Edward Woodberry. Boston and London: Heath, 1909. Stam, Robert. “Introduction: The Theory and Practice of Adaptation.” Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Oxford: Blackwell, 2005. 1-52. Citation reference for this article MLA Style Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/01-hutcheon.php>. APA Style Hutcheon, L. (May 2007) "In Defence of Literary Adaptation as Cultural Production," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/01-hutcheon.php>.

This paper aims to underline how hidden selves rediscover their identity when they are translating or are being translated into the language of their ethnic origin. It compares two specific instances in which translations have been the primary means through which two famous Italian women writers, both of whom received thoroughly Italian formal educations and considered themselves thoroughly Italian, or “thoroughly translated women into Italian” to recall Rushdie, rediscovered their Armenian identity. The authors are the late 19th and early 29th century Italian-Armenian poetess Vittoria Aganoor and the late 20th and early 21st century novelist Antonia Arslan.

Corporate boards have been male bastions until very recently, and women have been very few and difficult to track. In Italy, this has given rise to growing debates that have eventually led to the introduction of mandatory gender quotas for listed and state-participated (L&SP) firms under public control in 2011. In this chapter, the authors address this topic by investigating the presence of women among the directors of the top 250 Italian joint-stock companies from 1983 to 2017. In 1983, women were still nearly absent from Italian corporate boards. Their number showed a sizeable increase only in the 21st century, especially after the introduction of mandatory gender quotas. Quotas not only increased female presence on boards of L&SP firms, but also triggered an indirect “contagion effect”, that is, a higher proportion of women on boards of non-L&SP firms, even if the latter were not required to comply with this regulation. The massive increase in seats held by women led to a professionalization of female directors in Italy, even though women are still largely excluded from top executive positions.